...ABSTRACT Allison R. Soule: Fighting the Social Media Wildfire: How Crisis Communication Must Adapt to Prevent from Fanning the Flames (Under the direction of Dr. Lois Boynton) When a nine-month correspondence seeking reparations for musical instruments damaged by United Airlines employees stalemated, Canadian musician Dave Carroll took action online. Utilizing the video-sharing Web site YouTube, Carroll narrated his ordeal went viral generating a torrent of negative YouTube comments about United, commentary from the mainstream media, and more than 3 million views the first week of its launch. United Breaks Guitars embodies the new phenomenon of a social media wildfire in which the rapid proliferation of information through social media causes severe reputational damage to organizations whose crisis communication plans are ill equipped to handle online dilemmas. CO iii PY Using symbolic interactionist theory, this case analysis explores the phenomenon in detail and provides suggestions for how organizations must re-evaluate existing crisis communication plans to respond effectively to an online audience in the billions. RI G H through the lyrics of a music video entitled United Breaks Guitars. Within hours, the video TE D TABLE OF CONTENTS CHAPTER I: INTRODUCTION AND PROBLEM...
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...address the public relationship outfall of United Airline by considering the issues and causes and choosing a recommended solution on the base of decision criteria. Methods used in this report include empirical and theoretical analysis. In aviation industry, airlines experienced a cost pressure and that is the main reason that they cut cost wherever possible. Ethical issues and stakeholders’ benefit would be considered and play key roles in decision criteria to value the solution. United Airline would be suggested to establish a temporary team to solve the short-term crisis and invest in customer service departments to prevent similar issues in the future. The balance between cost and profit would be achieved to save the reputation and earn the profit, which would maximize the stakeholders’ value. Limitation of this report could be found in the scope of decision criteria. Some main points are covered and other attributes are not. Introduction The purpose of this report is to deal with the customer service issues facing United Airline. The causes would be discussed and the decision criteria would be considered to measure the alternatives which could be taken to address these issues. Moreover, recommended solution would be derived as the best of the alternatives with supported reasons. Finally, suggestions would be provided on how to implement the solution as well as the related implications. Issues United Airline suffered a public relationship...
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...music both developed in the 19th century in the Southern United States. They share a similar history. For this reason, they share many of the same musical and lyrical characteristics. Read more: How to Compare Blues & Country Music | eHow.com http://www.ehow.com/how_5888119_compare-blues-country-music.htInstructions 1. * 1 Learn the history behind blues and country music. They are both forms of American folk music influenced by earlier styles brought overseas. Blues music grew out of field hollers and chants sung by African slaves. Irish and Scottish balladeers borrowed the guitar and banjo of blues and thus created "country". According to Reebee Garofalo in "Rockin' Out: Popular Music in the USA", "Terms like country and blues are only used to separate the same kind of music made by blacks and whites ... designations like race and hillbilly intentionally separated artists along racial lines and conveyed the impression that their music came from mutually exclusive sources." Country is an offshoot of blues. They are essentially the same thing. In the PBS special, "Rhythm, Country and Blues," country is referred to as "white man's blues." * 2 Listen to the instrumentation in country and blues songs. They share many of the same instruments. These include guitar, bass, piano and drums, among others. Traditional country music differed from blues in that it utilized instruments such as the pedal steel guitar and fiddle. Modern country doesn't necessarily include...
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...Philippines is a mixture of indigenous foreign countries. The United States occupied the Islands in 1898 until 1946, and introduced American blues folk music, Rock &Blues, and rock and roll became popular. In the late 1950s, native performers adapted Tagalog lyrics for North American rock and roll music, resulting in the seminal origins of Philippine rock. The most notable achievement in Philippine rock of the 1960s was the hit song "Killer Joe," which propelled the group "Rocky Fellers" which reached number sixteen on the American radio charts. Up until the 1970s, popular rock musicians began writing and producing in English. In the early 1970s, rock music began to be written using local languages, with bands like the Juan Dela Cruz Band being among the first popular bands to do so. Mixing tagalog, and English lyrics. Background of the Study Joseph William Feliciano Smith born on December 25, 1947 is a Filipino singer-songwriter, drummer, and guitarist. More commonly known alternately as Joey Smith or Pepe Smith, he is an icon of original Filipino rock music or "Pinoy Rock". His father, Edgar William Smith, was a United States Airforce, and his mother, Conchita Feliciano, was from Angeles, Pampanga, where the huge Clark Air Force base was located. Joey spent his first years in Angeles, often visiting the airbase, where his father would take him to the flight line to watch the United States military aircraft take off and land. To this day, he has...
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...Abstract Brands rushed into social media, viewing social networks, video sharing, online communities, and microblogging sites as the panacea to diminishing returns for traditional brand building routes. But as more branding activity moves to the Web, marketers are confronted with the stark realization that social media was made for people, not for brands. In this article, we explore the emergent cultural landscape of open source branding, and identify marketing strategies directed at the hunt for consumer engagement on the People’s Web. These strategies present a paradox, for to gain coveted resonance, the brand must relinquish control. We discuss how Webbased power struggles between marketers and consumer brand authors challenge accepted branding truths and paradigms: where short-term brands can trump longterm icons; where marketing looks more like public relations; where brand building gives way to brand protection; and brand value is driven by risk, not returns. # 2011 Kelley School of Business, Indiana University. All rights reserved. 1. The party crashers: Marketers and the Social Web Brands today claim hundreds of thousands of Facebook friends, Twitter followers, online community members, and YouTube fans; yet, it is a lonely, scary time to be a brand manager. Despite marketers’ desires to leverage Web 2.0 technologies to their advantage, a stark truth presents itself: the Web was created not to sell branded products, but to link people together in collective conversational...
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...Business Horizons (2011) 54, 193—207 www.elsevier.com/locate/bushor The uninvited brand Susan Fournier a,*, Jill Avery b a b Boston University School of Management, 595 Commonwealth Avenue, Boston, MA 02215, U.S.A. Simmons School of Management, 300 The Fenway, M-336, Boston, MA 02115, U.S.A. KEYWORDS Branding; Brand management; Social media; Web 2.0; Co-creation Abstract Brands rushed into social media, viewing social networks, video sharing, online communities, and microblogging sites as the panacea to diminishing returns for traditional brand building routes. But as more branding activity moves to the Web, marketers are confronted with the stark realization that social media was made for people, not for brands. In this article, we explore the emergent cultural landscape of open source branding, and identify marketing strategies directed at the hunt for consumer engagement on the People’s Web. These strategies present a paradox, for to gain coveted resonance, the brand must relinquish control. We discuss how Webbased power struggles between marketers and consumer brand authors challenge accepted branding truths and paradigms: where short-term brands can trump longterm icons; where marketing looks more like public relations; where brand building gives way to brand protection; and brand value is driven by risk, not returns. # 2011 Kelley School of Business, Indiana University. All rights reserved. 1. The party crashers: Marketers and the Social Web Brands...
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...rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of Oxford University Press. Library of Congress Cataloging-in-Publication Data Savage, Steve. The art of digital audio recording: a practical guide for home and studio / Steve Savage; with photos by Robert Johnson and diagrams by Iain Fergusson. p. cm. Includes bibliographical references and index. ISBN 978-0-19-539409-2; 978-0-19-539410-8 (pbk.) 1. Sound studios. 2. Sound—Recording and reproducing—Digital techniques. I. Title. TK7881.4.S38 2010 621.389'3—dc22 2010032535 9 8 7 6 5 4 3 2 1 Printed in the United States of America on acid-free paper For my daughters Sophia and Thalia. Thanks for all the hours of training! This page intentionally left blank Acknowledgments vii This book was written because Norm Hirschy at Oxford University Press read...
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...17.3.2011 ABSTRACT The purpose of this analysis is to determine some of the primary issues concerning the influence of the media and technology in post-modern American society. We know that the media is a prevalent and powerful force in contemporary society and that technology has infiltrated the everyday lives of most Americans. In this analysis I will examine the impacts of media and technological saturation through an exploration of my own media usage habits. After a 72-hour period in which I will not use my media/technological electronics, I will define what I see as the prevalent issues surrounding present-day American reliance on media and technology as a source of information, as well as a method of understanding the world. Included is a discussion of the conflict theory and its perception of the ways in which the bourgeoisie and elite politicians control and oppress the proletariat through utilization of media and technology as well as a brief overview of the class-dominance theory of the social media. I will explore some of the methods by which this is done, as well as investigate some of the impacts that the media/technology have on the public, especially Narcotizing Dysfunction. I will explain in detail precisely how the media shape and influence people and society, and I will address the controversial use of electronic devices as communication tools, particularly their overuse. I shall discuss the possibility that these kinds of technologies are addictive...
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...Chapter 1 Case Study: Harmonix Embrace Your Inner Rock Star Little more than three years ago, you had probably never heard of Harmonix. In 2005, the video game design studio released Guitar Hero, which subsequently became the fastest video game in history to top $1 billion in North American sales. The game concept focuses around a plastic guitar-shaped controller. Players press colored buttons along the guitar neck to match a series of dots that scroll down the TV in time with music from a famous rock tune, such as the Ramones’ “I Wanna Be Sedated” and Deep Purple’s “Smoke on the Water.” Players score points based on their accuracy. In November 2007, Harmonix released Rock Band, adding drums, vocals, and bass guitar options to the game. Rock Band has sold over 3.5 million units with a $169 price tag (most video games retail at $50 to $60). In 2006, Harmonix’s founders sold the company to Viacom for $175 million, maintaining their operational autonomy while providing them greater budgets for product development and licensing music for their games. Harmonix’s success, however, did not come overnight. The company was originally founded by Alex Rigopulos and Eran Egozy in 1995, focused around some demo software they had created in grad school and a company vision of providing a way for people without much musical training or talent to experience the joy of playing and creating music. The founders believed that if people had the opportunity to create their own music, they would jump...
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...Chapter 1 Case Study: Harmonix Embrace Your Inner Rock Star Little more than three years ago, you had probably never heard of Harmonix. In 2005, the video game design studio released Guitar Hero, which subsequently became the fastest video game in history to top $1 billion in North American sales. The game concept focuses around a plastic guitar-shaped controller. Players press colored buttons along the guitar neck to match a series of dots that scroll down the TV in time with music from a famous rock tune, such as the Ramones’ “I Wanna Be Sedated” and Deep Purple’s “Smoke on the Water.” Players score points based on their accuracy. In November 2007, Harmonix released Rock Band, adding drums, vocals, and bass guitar options to the game. Rock Band has sold over 3.5 million units with a $169 price tag (most video games retail at $50 to $60). In 2006, Harmonix’s founders sold the company to Viacom for $175 million, maintaining their operational autonomy while providing them greater budgets for product development and licensing music for their games. Harmonix’s success, however, did not come overnight. The company was originally founded by Alex Rigopulos and Eran Egozy in 1995, focused around some demo software they had created in grad school and a company vision of providing a way for people without much musical training or talent to experience the joy of playing and creating music. The founders believed that if people had the opportunity to create their own music, they would jump...
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...Nagy Concordia University April 14, 2015 COMM 320, Section R Professor: Judy Nagy Concordia University April 14, 2015 | | Matheson Carroll 26980759 Zhao Chang Li 26380298 Andréane Leblanc 2 6491677 Liam Montgomery 26553354 Maya Safah 26443478 Wei Feng 26750125 Matheson Carroll 26980759 Zhao Chang Li 26380298 Andréane Leblanc 2 6491677 Liam Montgomery 26553354 Maya Safah 26443478 Wei Feng 26750125 TABLE OF CONTENTS Executive Summary 7 Concept/Goals and Objectives 8 Industry Analysis 9 Trends 9 Key Success Factors 10 Industry Forces 11 Target Market 12 Industry Competition 12 Market Potential 13 Benchmark 13 Window of Opportunity 13 Marketing Plan 15 Marketing Strategy 15 Marketing Segmentation 15 Unique Selling Points 15 Marketing Mix 15 Projection of Revenues 18 Operations Plan 19 Key People 19 Legal Status and Organization Structure 19 Facilities and Supplies 19 Business Process 19 Production Capacity 19 Growth Plan 20 Financial Plan 22 Major Assumptions 22 Risk...
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...consumer electronics are about to make their move at the dawn of the New Year. Next Tuesday, Google is expected to announce its long-rumored Nexus One smartphone. It is undoubtedly designed to run the Google Android operating system for cellphones, which the search giant introduced more than a year ago. Android was envisioned as a major breakthrough in cellphones because it offered an "open" operating system i.e., one that other companies could use and design applications for. At the time, this strategy was compared to that of Microsoft Windows, which broke the market hegemony of Apple’s decidedly non-open OS in the mid-1980s and within a decade, turned Apple into a niche company. This time around, the new Android phones were supposed to break the hegemony of the Apple iPhone. So far, it hasn’t quite worked out that way with Android. A number of cell phone companies notably Motorola, HTC, and Samsung have adopted Android and seen impressive sales. However, this time around Apple, though still exhibiting much of its old "closed" and proprietary ways, has learned some important lessons over the last 20 years. For one thing, Apple understands, better perhaps than any company on the planet, the importance of being not only perpetually innovative but with a vast and loyal army of Apple fanatics behind it to...
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...Define Wal-Mart’s strategy Traditionally, Wal-Mart has essentially had a low-cost, high volume strategy. The strategy aims at customer satisfaction through low prices and relatively good customer service. Here are the basic details. • Low cost: Wal-Mart has lower operating expenses than the industry average. The primary cost advantage is Wal-Mart’s superior distribution capability (location of stores, inside-out growth patterns, cross-docking, superior information management). Quantitative details on cost advantage are set forth in Section 3 below. • High Volume: Industry analysts watch Wal-Mart’s growth of sales figure very closely. Wal-Mart’s prices are low by the industry standard, which, combined with its lower costs, indicates a strategy that aims at growth in volume through grabbing increased market share (cf. Dell). • Customer Satisfaction: Low prices, advanced data management and extremely motivated employees (“10 ft rule”, “sundown rule”) means a better customer experience than at other discount retailers, even though Wal-Mart remains a self-service retailer. In addition, the large size of the traditional Wal-Mart stores adds convenience by offering a one-stop solution by offering a wide range of products. In the words of Sam Walton, “Wal-Mart’s aims at creating a loyal customer base by lowering their cost of living through offering quality and other products at significantly lower prices, while surprising them on the convenience and service level side.” It’s...
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...Transforming Lives Communities The Nation …One Student at a Time Disclaimer Academic programmes, requirements, courses, tuition, and fee schedules listed in this catalogue are subject to change at any time at the discretion of the Management and Board of Trustees of the College of Science, Technology and Applied Arts of Trinidad and Tobago (COSTAATT). The COSTAATT Catalogue is the authoritative source for information on the College’s policies, programmes and services. Programme information in this catalogue is effective from September 2010. Students who commenced studies at the College prior to this date, are to be guided by programme requirements as stipulated by the relevant department. Updates on the schedule of classes and changes in academic policies, degree requirements, fees, new course offerings, and other information will be issued by the Office of the Registrar. Students are advised to consult with their departmental academic advisors at least once per semester, regarding their course of study. The policies, rules and regulations of the College are informed by the laws of the Republic of Trinidad and Tobago. iii Table of Contents PG 9 PG 9 PG 10 PG 11 PG 11 PG 12 PG 12 PG 13 PG 14 PG 14 PG 14 PG 14 PG 15 PG 17 PG 18 PG 20 PG 20 PG 20 PG 21 PG 22 PG 22 PG 22 PG 23 PG 23 PG 23 PG 23 PG 24 PG 24 PG 24 PG 24 PG 25 PG 25 PG 25 PG 26 PG 26 PG 26 PG 26 PG 26 PG 26 PG 27 PG 27 PG 27 PG 27 PG 27 PG 27 PG 28 PG 28 PG 28 PG 28 PG 28 PG 33 PG 37 Vision Mission President’s...
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...Event Business Plan Submitted by: Submitted to: Derya Aydogan Taylor Dees Alex Fullerton Annika Glaser The Okanagan School of Business Dr. Blair Baldwin, The Okanagan School of Business Chad Douglas, Events Manager, Tourism Kelowna December 2, 2014 Executive Summary Rock of the Ages Music Festival is a brand new festival designed for Tourism Kelowna. The purpose of the music festival is to bring together like-minded individuals who appreciate the rock music genre to celebrate its evolution. Rock of the Ages music festival will host many rock bands, or their tributes, from the early 50’s to today. The festival will be three days during August 14th, 15th and 16th in 2016 with two stages along the waterfront. The music will progress from older to newer rock music. Each day will have a different theme to match the age of the music playing that day. An event brief describes what the event will look like from a customer’s perspective. In the first year of operation, Rock of the Ages expects 5,000 attendees and 20+ rock bands. The music festival will have a revenue stream from ticket sales, sponsors, merchandise, space slips (vendors), alcoholic beverages, VIP experiences, parking and transportation. Rock of the Ages has six major competitors in Canada: Centre of Gravity, NXNE, Sled Island, Osheaga, Boonstock, and Heavy Montreal. Rock of the Ages marketing goals for 2016 are to: Sell-out 5,000 tickets; Ensure at least 4,500 (90%) of attendees are...
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